A Zen journey at the heart of contemporary Chinese sculpture

In residence at ODRADEK, Zhongying Shi presents a work entirely created in Belgium.

Based on a self-portrait called “self” carried in his luggage, the Beijing artist begins a new reflection on the language of sculpture.

Since the arrival of Buddhism in China, representations of the Awakened have undergone various artistic and philosophical developments. Zhongying Shi draws inspiration from this heritage to create installations and paintings revolving around the poles of emptiness-fullness, background-form, signifier-signified.

Using his own body as a model, he materializes the transition from contemporary man’s singular, arrogant individuality to the self’s empty state in harmony with the earth and the world. The two bodies oppose each other and join together, vital energy flowing between them. With hands reaching out to each other, a new way of communication is proposed. While shaping the bronze or metal, the sculptor works at the level of concrete reality. The full body shape invites to a passage towards the inner emptiness. Zhongying Shi aims at building interactions between Buddhist art and wisdom, between cold metal and the dynamism of nature.


Neither whence nor whither, Stainless steel, 360(无限)×70×205cm, 2013 Zhongying SHI, Yu·She, Grass Goat Sheep Wrestling 水墨、宣纸 Ink on Xuan Paper, 126×66cm, 2019